Deconstructing Nigeria's foremost ceramist: LEVI O'BEM YAKUBU[MON, NPOM, FSNA] from my lens.

When requested to submit this script, I was not so sure from which angle I should

engage the piece. I have known Mr. Levi Yakubu since 1979. I virtually lived with

him in those early days; on and off for over 3-4 years, sharing studio life. I was there

when he got married and had his first child, a girl (now married with her own family).

So I choose to engage this from this early formative period when it all began for this

a charismatic and iconic artist. 


My friendship and relationship sparked off innocuously on three platforms; first,

on a student/lecturer level which then waxed fraternally by our faith, and finally, 

the third that eventually escalated to a mentor/mentee acquaintance that has thrived

till date. Levi is a man of such an emblematic oeuvre of exceptional focus and grit.

This determination has seen him conquering several professional mountains and scaling

numerous artistic challenges. Depending on the prism you view him; Levi can be seen as

a man of many parts. 


Something I admired so much with such undeniable proof is his ability to simplify hard

work. His work mode is permanently activated. He is also a man of piety and passion. 

He argues in support of the fundamental belief that art must consistently uphold high

aesthetic quality and significance that is essential to liberal education.

While defending the right of an artist treading the paths of engineering and mathematics

to solve artistic challenges; I recall his postulation on the mathematical calculations

applied by the artists in the construction of the pyramids of Egypt and the monstrous

sphinxes. Helen Gardner is a popular refrain:


“We consider artworks with a view toward their purpose and meaning in the society

that produced them at the time at which they were produced.” 


He knew his onions and had no difficulty sharing knowledge.


If he manages to cross your path, he acknowledges you with a charming and disarming

smile. 


The Teacher

As a 17 years old lad I first met him when he resumed in 1979 to set up the Ceramics

section of the then Murtala College of Arts Science/Technology (MUCAST) now

Benue Polytechnic, Ugbokolo, and the School of Basic Studies, (Now Centre for

Advanced and Professional Studies) Makurdi, Benue State. From a distance, I saw a

lanky member of staff who carried himself with enviable simplicity and covetable

calmness. He was never assertive, but had a tremendous way to stir interest in his area

of specialization; Ceramics. Students laughed heartily in an atmosphere of relaxed

conviviality during his class. He deconstructed his subject that saw the scientific aspect

of ceramics explained in simplified terminology. He was never crossed nor offended but

responded with such fatherly maturity to students who deliberately attempted to ride the

negative rail. He had words of encouragement for even the worst draughtsman. He

challenged his students to be artistically adventurous and explore their creative

proclivities. He made all feel like kings and was patient to wait for first-timers to master

the potter’s wheel or any complex ceramics machinery. As an Ordinary National Diploma

[OND] 1 (one) student at this time, I was too scared to hold a pencil during drawing

classes. Mr. Yakubu was both extremely understanding and tolerant of this group. His

ceramics class was both scintillating and inviting. The proof was in the number of

students choosing to specialize in it during their Higher National Diploma [HND]

specialization period. 


He introduced my class to several names like the potter’s wheel, kaolin, clay extruder,

kiln production, and its technical designs among the very many ceramics tools. By the

time I was done with the OND program in the second year and desperate to know if I

sailed to the HND class, he slyly congratulated me for coming out tops with a Distinction.

I did not miss the sparkle of a satisfied ‘teacher’ in his eyes. The transition from being

unable to steady a pencil in a drawing class to coming out top in a class of about 15 was

mind-blowing. But the real deal was the invitation I received to visit his personal studio. 


The Man 

Haven distinguished myself I recall being invited along with the young man who came

second (also with a Distinction) to join in a visit to his studio. This was a phase of a more

potent encounter than what I had experienced from afar. I found a man who was

unpretentious in his spirituality and religious obligations. I realize that the strength of Mr.

Levi Yakubu is his principled Christian upbringing.  He lived it totally. I found a man of

such high moral standards who brooks no lowering of his moral compass. 


I recall being in a car ride with him from the present legislative quarters in Makurdi.

We regularly go hunting as he had an Alpine Shooter Sako Finnlight

rifle or All-purpose All-Star Weatherby Vanguard Series 2 [not too sure which]. 

Now, this near accurate rifle was neatly inserted between the two front passenger’s seats. 

At some police road checkpoint, we encountered a stop and search. After an unnecessarily

long delay, Levi calmly called the officer’s attention to the rifle tucked away between the

seats rather than the focus on the ceramics work in the boot of the vehicle. He pointedly

told the office “If anything is “illegal” the rifle is what you should be bothered about.

The officer felt disarmed and shaken by this honesty and forthrightness. He then

responded with a coy friendliness as he demanded a bribe. Levi told him point-blank to

either arrest him or let him continue his hunting trip as “I will not give you any bribe and

will not start now”. 


I was stunned. 


He is a man of such an impeccable demeanor. 


For the number of years I live with him, both on and off, the house had over 15-20

extended relatives who visited and by the rules of the African culture must be well fed.

He literally was carrying the burden of training most of these relatives in the higher

institutions. The largeness of his heart to other fellows is alarming. As a studio hand and

in his absence, I recall on several occasions when a list of relatives and their school

fees and pocket monies are left in my care for onward transmission if he was out of town.

It was a mini-community where everyone knew not to trifle with his religious parameters

nor compromise their faith. Morning devotions were nothing else, but what it is. This was

mandatory. As a young student who searched for answers to living the high moral road.

I encountered from my relationship with Mr. Yakubu that this is not only tenable but

practicable. 


The Holistic Artist

The studio time with a group of over 3-5 artists at any given time was exhilarating and

compulsively infectious. Commissioned projects were executed by his studio in public

art ranging from sculptures to mosaics and murals. Corporate commissions in screen

printing, portraitures, collages, and pointillism were just the tip of the iceberg. His studio

was as engaging and as demanding. Artists and studios help virtually spent holidays in

the studios. But the most reminiscent is the master who worked harder than his entire

team put together. Levi is the typical Bohemian artist; totally holistic, as it were.

He moved from one project seamlessly to another. Severally projects were handled

simultaneously. 


Benue State during this era had few public artists. 


His adroitness in forms malleability is second to none as it echoes vividly Vincent Van

Gogh words “If one is master of one thing and understands one thing well, one has at the

same time, insight into and understanding of many things.” The studio experienced

streams of commission requests flooding in. Completed works were finished, delivered,

and many times installed with the same dextrous proficiency. 


My photography romance is a skill I developed during this period. Levi made hard work

seem like child’s play. A multitasker, for want of the proper appellation! He is able to

traverse the landscape to cover events in photography, he then zooms into the darkroom

and develops them. Once done, he sets the finished photographs for critical analysis and

engaging scholarly debates. By evenings everyone was back in the studio putting finishes

to ongoing projects. 


At other times, Levi exploits his artistic license to retouch and paint automobiles. Such

dingy and faded paint works on cars are visited with his professional zeal that turns them

out as new as if they have been factory laid. The studio was well equipped with masking

tapes, newspapers for masking off, an air compressor and spray gun, paint thinners, face

masks, safety glasses, undercoat, topcoat acrylic or enamel paint, and clear-coat lacquer

ubiquitously in situ. Name it, Levi’s studio reeked of sweat, sweat, and sweat. He goes

through the whole sandpapering, polishing, and spraying with professional dexterity.

We sometimes jocularly wondered if blood truly ran in his veins. He was the typical

“never say die” overachiever. Whatever he touches turns to gold. This attitude to

unpretentious hard work is what I may have copied from him. In my attempt to demystify

him, I subconsciously found myself treading his path to his alma mater to unravel

Ahmadu Bello University's dominant art enigma. 


Poetry & Passion


I have over the years watched as he continues to gather awards. His works are in major

collections in a culture burdened with a very low appreciation for this genre. I foresee an

explosion in appreciation for his works in the tertiary art auction market that has gained

traction within these shores in the recent past. 


“The $27.7 million paid for a fourteenth century, blue-and-white baluster Guan (jar)

Yuan dynasty (1279-1368), by the London dealer, Eskenazi, in New York in March 2006,

demonstrates, ‘that a well-researched item of exceptional quality and provenance will reach its

full potential in the current market place’ ” (Hearnden 2007: 233)


While the majority continues to see the works as utilitarian products, the truth is that these

are highly collectible items meant only for the discerning collector. 


These works exude reverential harmony of forms, content, and uncouth decorative art of

hazy hues. The glazed finishes elegantly reveal the adept use of lavender with opaque

bluish-green stoneware bodies. Monochromes are matted and crackled to achieve balance

and forms. Others are globular and treated texturally to achieve deliberate coarseness.

For those who are artistically inclined, his ceramic pieces are received with such dignified

phenomenal accolades and reverence in better climes of the world. They reflect the

tireless details of unmitigated accuracy of a painstaking draughtsman. 


Chief Joe Musa

Fmr. Director-General

National Gallery of Art 

August 2, 2017


WORKS CITED:

Hearnden, J. (2007) “Millers Price Guide 2007”, Vol. XXVIII, London: Octopus. As quoted by

Iain Robertson and Derrick Chong “The Art Business” 2008. Page 43. Routledge


Kliener, Fred S. & Christin J. Mamiya (Ed) “Gardner’s Art Through The Ages: The Western

Perspectives” 2006. PREFACE Page xv. Thomson Wadsworth. US.

    The Pregnant Woman, themed:
    "I look up to the hills, from where
     my help comes."
     Vitrified terracotta (1200⁰C)
     Height: 1ft 6in. 
     Width: 1ft 10in


     "Adam and Eve after the fall."
     Vitrified terracotta (1200⁰C)
     Height: 1ft 5in.
     Width: 1ft.

      "Lizard on a tree stump."
      Glazed Stoneware
      Length: 2ft. Frontal view

      "Lizard on a tree stump."
      Glazed Stoneware
      Length: 2ft.Back View

     "Lizard on a tree stump."
      Glazed Stoneware
      Length: 2ft. Side View

  "The BENUE QUEEN" Flower
      Vase.
    Glazed Stoneware (1200⁰C)
    Height: 2ft.
    Middle section diameter 1ft.



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